Aiwa VM17SA

The Aiwa VM17SA is a marvelously engineered Japanese multi-pattern ribbon microphone manufactured in the 1980’s.

Most people associate Aiwa with cheap consumer grade electronics, but like many Japanese companies (eg Sony, Toshiba, Yamaha), Aiwa also designed, engineered and manufactured high quality professional microphones, and are some of the most underrated vintage mics in the world.

The VM17SA is an evolution of the RCA 77DX, but what’s interesting is that Aiwa continued to tweak and improve the design into the 80’s, long after most other manufacturers had abandoned ribbon microphone design and manufacturing. This mic is meticulously engineered and machined, and the internal construction and mechanical assembly are inspiring. The polar pattern adjustment is selected with the aluminum thumbwheel by raising and lowering an aluminum door, changing the size and shape of the opening to the microphone’s acoustic chamber. It uses an incredibly thin ribbon width, and our friend Jon Ulrigg (who masterfully serviced this microphone) noted that it was the thinnest ribbon he’s ever seen in a microphone.

With incredible transient response, beautiful high-frequency detail, and a controlled bottom, this mic sounds great on a number of sources, especially as a vocal mic, as drum overheads, a coincident stereo pair for ensembles, or as room mics.

Year	1982
Model	VM17SA
Manufacturer	Aiwa
Country of Origin	Japan
Microphone Type	Ribbon
Equalizer Filter Topology	Inductor (LC)
Amplifier Type	Tube
Polar Pattern	Cardioid

Listen

You can hear this mic in action by listening to our "proprietary microphone jingle" from the audio player below. The song was recorded using the VM17SAs for every instrument in figure 8. If you'd like the original multitrack files, and to hear this recording in the other polar patterns, please reach out. The pair was used on drums with one positioned about 3 ft above the snare, and one positioned in front of the kick, raised about 6” above the top of it, pointed at the snare. We then used a single one for each amp and vocal. Everything was recorded at modest levels through our Sphere Eclipse console preamps into a Burl A/D without any processing whatsoever.